I am presenting a conceptual approach to painting to explore the formal principles of painting. Painted strapping, attachment rings and rivets are combined with random shapes. Besides adding visual stability to the chaotic shapes, the strapping establishes structure within the painting. Continuing the strapping onto the canvas side edge extends the picture plane beyond two dimensions. With the underlying color shapes purposely overlapping the straps within specific areas, spatial illusion is created. Specifically designed strapping plays formality against informality. The overall resulting intrigue challanges one's perception. Purposely aligned color shapes relate to a secured placement and a captured moment.
Further explorations relate to secured moments (egg giving birth to triangle shapes), captured moments (dynamite exloding various shapes) and secured breakage (half broken target plate).
I have translated this approach to exieting masterpieces, now specifically Mondrian. This translates to a drawing format also as well. The drawings are executed on Strathmore Bristol paper, pastel color is applied and enriched by overlapping rubbings, strappings are rendered with black grease pencil and silver acrylic paint is used for metal attachment rings and rivets. I like to think that I am securing the art.
The senics are illustrated with watercolors on BFK Reeves paper, followed with the same applied strappings and rings. The captured scenics relate to a photograper capturing a moment in time.
For the Captured Bloom series, I use a photo process paper as a base and apply a color a color ink wash in a controlled. manner which creates a frottage like surface, then grease pencils are used for coloration.